Help me understand compression settings for live performance…

[Fuzzbass]

It's bizarre that some primarily associate compression with fixing bad technique, or otherwise look at it in a negative light, e.g. "robs your dynamics". Those who believe the latter either don't understand compression, or encountered a poor quality device such as the one-knob comps shoehorned into some amplifiers.

For the vast majority of compression users, "need" has nothing to do with it. Bassists typically use compression for the same reason it's used in the studio: to help the instrument sit better in the mix. To explain what this means, I refer to the Ovnilab Compressor FAQ:

even though some people say they don't like compression because they play with a wide range of dynamics, the fact is that carefully applied compression will actually make the entire dynamic range easier to hear, rather than making your signal sound "less dynamic".

The operative term is "carefully applied", and as previously noted the quality of the compressor matters -- but these days good compressors can be found at reasonable prices.

For anyone new to compression, I highly recommend one with a clean blend. The fancy term for this is "parallel compression", where an uncompressed signal is blended with a compressed one. Blend essentially allows you to have your cake and eat it too: your playing is still dynamic (transients come through), but depending on comp settings you can get more sustain, and/or bring up your quieter notes so they are less likely to disappear in a busy mix.

Also, blend can be a "get out of jail free" card. If your signal is too compressed, just blend in more clean signal. It's especially valuable to beginners who haven't gotten the hang of attack, release, threshold, ratio -- but also convenient to those of us who do understand compression.



P.S. Of course I'm not saying that everyone should use compression. I often don't bother with it. Just sayin', I love the result when I do. My favorite application is to replicate a tube amp pushed hard: I use an overdrive pedal to emulate power tube clipping, and compression to simulate a large speaker cab at volume. It's not an exact match, but can get reasonably close to the tone and sustain of a pushed SVT rig, even at quiet volume levels. My pants aren't flapping, but my ears are happy.

 

[wolffire99]

you can get more sustain, and/or bring up your quieter notes so they are less likely to disappear in a busy mix.

This nails it…and still allows some limiting compression to be applied at the soundboard to help match dynamics for the group/room if you’re playing through a PA.

When I check my compressor settings by switching it on and off it’s more about what’s it’s doing to quieter notes higher up on the neck than anything else.

 

[bucephylus]

Partially reformed backline rig junkie here trying to update my pedal boards to optimize both FoH Send and Stage Mix signal chains. I have never used compression in my backline signal chains, preferring more open clarity.

But, while trying to optimize FoH DI Sends, I have tumbled to the fact that a Tech 21 Sansamp BDDI ALWAYS puts an instant smile on the Sound Engineer’s face and thumbs up at sound check. I’ve currently got a SushiBox More injecting a bit of tube vibe ahead of the BDDI, which works pretty well.

In the vein of doing the one unnecessary extra experiment, I hooked up my Shift Line Olympic pre/DI; and slightly prefer the similar but more together sound that Pre/DI produces for the stage mix monitor.

But, I can also see that the SLO is slightly more “peaky” on the DI Send vs the BDDI, which has just the right amount of slight compression built into the DI Send.

Hmmmm….I’d really prefer to NOT to drag around separate board chains for FoH and stage mix.

Is it possible to put slight compression downstream of the SLO DI Send on the board? Don’t believe I’ve seen such a pedal. I use an HPF downstream of the Out for Stage Mix ONLY. A similar device for the FoH Send ONLY would be awesome. But, I don’t believe such device exists. I do NOT want the compressor upstream of the preamp.

And, yes, I understand the FoH board has compression available. My gigs rarely have the luxury of time for channel adjustments on the FoH, with different SE’s at different venues. I need my FoH Send to be as out-of-the-box idiot proof as possible. I can stay with the BDDI rig; but, am frustrated needing to keep the SLO on the sidelines.

Any insight on DI Send options would be appreciated.

 

[FugaziBomb]

This is how I approach compression as well. I've gone through phases of playing with and without compression, but have determined that I like having the subtle effect it has on my tone. I'm sure a random audience member in the bars I play would not notice the difference, but I notice it and I like it, so I have it. I have a Keeley Bassist that is always on, and usually set between 3:1 and 4:1 ratio, with the threshold adjusted based on the bass I'm playing (my Reverend is a LOT hotter than my G&L JB, for example).

And IMO, the comments saying "let the FOH engineer deal with the compression" only apply to gigs where you're playing to a big room with a big crowd through a big sound system. Speaking for myself and I assume a good percentage of TBs, I only have a couple of those a year. Most of the time I'm playing bar gigs where sometimes FOH is provided, but usually we are running our own PA, and for most indoor gigs the bass isn't even in the FOH because my Mesa/RevSound rig fills most of the rooms we play, so I do need to worry about my live rig.

I'm still rocking a rack full of bs, including a Dbx comp.

 

[pbass2]

It's bizarre that some primarily associate compression with fixing bad technique, or otherwise look at it in a negative light, e.g. "robs your dynamics". Those who believe the latter either don't understand compression, or encountered a poor quality device such as the one-knob comps shoehorned into some amplifiers.

For the vast majority of compression users, "need" has nothing to do with it. Bassists typically use compression for the same reason it's used in the studio: to help the instrument sit better in the mix. To explain what this means, I refer to the Ovnilab Compressor FAQ:



The operative term is "carefully applied", and as previously noted the quality of the compressor matters -- but these days good compressors can be found at reasonable prices.

For anyone new to compression, I highly recommend one with a clean blend. The fancy term for this is "parallel compression", where an uncompressed signal is blended with a compressed one. Blend essentially allows you to have your cake and eat it too: your playing is still dynamic (transients come through), but depending on comp settings you can get more sustain, and/or bring up your quieter notes so they are less likely to disappear in a busy mix.

Also, blend can be a "get out of jail free" card. If your signal is too compressed, just blend in more clean signal. It's especially valuable to beginners who haven't gotten the hang of attack, release, threshold, ratio -- but also convenient to those of us who do understand compression.



P.S. Of course I'm not saying that everyone should use compression. I often don't bother with it. Just sayin', I love the result when I do. My favorite application is to replicate a tube amp pushed hard: I use an overdrive pedal to emulate power tube clipping, and compression to simulate a large speaker cab at volume. It's not an exact match, but can get reasonably close to the tone and sustain of a pushed SVT rig, even at quiet volume levels. My pants aren't flapping, but my ears are happy.

Good takes here. My favorite application live is simply to emulate the very slight compression often applied during tracking a DI bass signal in the studio, same as I do in my home studio or when I do sessions. 2:1 or 4:1, just a smidge really, not clamping down hard at all, just "barely on". Then FOH can have their way with it, that's outta my hands. I don't always use comp live, but the way I use it is not tying their hands, and usually making their lives a bit easier.

 

[Robert Udell]

Wow, great info from all of you. Hope to experiment today. Definitely want to try out more of the stomp amp models

 

[Fondsdale]

Here's Marcus Miller explaining how compressors work for bass.



He's using it to tame transients but also as a sound tool... part of his sound is compression adding sustain and bloom to the notes.

The technique crutch thing is funny. I used to beat myself up about playing as even as possible, then when you hear isolated bass lines from some top players, you hear clank, fret buzz, uneven notes. Listen to Chuck Rainey's isolated parts and there's all sorts of extraneous noise, not everything is even volume, but it works perfectly in the mix.

And if compressor is a crutch, who cares. If you sound great with one, then always use one! I can't imagine any situation where someone's gonna steal your compressor and force you to play without it. It's not like it can actually make someone who sucks sound good.